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"content": "\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014153\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/209014153&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209014153'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/209014039&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209013737″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/209013737″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/209013737″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kamasi Washington's 'The Epic' Lives Up to its Title",
"title": "Kamasi Washington's 'The Epic' Lives Up to its Title",
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"content": "\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784151\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/206784151&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/206784151'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512926\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/203512926&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/203512926'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512805\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/203512805&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/203512805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Marking a Genocide's Anniversary by Celebrating Armenian Composers",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036549\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">[soundcloud url=\"https://api.soundcloud.com/playlists/93272526\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n",
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"title": "Marking a Genocide's Anniversary by Celebrating Armenian Composers | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/198036549&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/198036549'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/93272526&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/playlists/93272526'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/196906315″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/196906315″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/196906315″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Documentary on 'The Wrecking Crew' Puts Spotlight on Rock's Unsung Hit-Makers",
"title": "Documentary on 'The Wrecking Crew' Puts Spotlight on Rock's Unsung Hit-Makers",
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"content": "\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/195760513\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://youtu.be/SX5BCgmr7tg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/195760513&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/195760513'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Korean Folk Drummers Ring in the Lunar New Year",
"title": "Korean Folk Drummers Ring in the Lunar New Year",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Sun Nin Fai Lok! Chúc Mừng Năm Mới! Sae Hae Bok Mani Ba Deu Se Yo!\u003c/p>\n\u003cp>Happy New Year! We are now in lunar year 4713 -- the Year of the Wood Sheep.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/193448761\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Asian-American communities throughout California have annual celebrations to usher in the new year. In \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/koreatown/\">L.A.’s Koreatown\u003c/a>, traditional folk drummers organize a street festival called jishinbalpki, which literally means “to step on the earth’s spirits.” The drumming troupe drops by local businesses to stomp out bad spirits and to usher in prosperity for the new year.\u003c/p>\n\u003cp>You simply can’t miss the drummers as they march down Western Avenue and Olympic Boulevard -- two main thoroughfares in L.A.’s Koreatown.\u003c/p>\n\u003cfigure id=\"attachment_10443968\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg\" alt=\"As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443968\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they march, the drummers shout, “Ajulshigoo-johta!” -- it’s basically a vocal high-five.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They drum traditional Korean folk beats, going from business to business: restaurants, beauty salons, video rental stores, comic-book shops and even car mechanics.\u003c/p>\n\u003cp>When the troupe arrives at a nail salon, emcee Han Kim starts a call and response in Korean, “Owner, open the door! Open the door so the luck can come in!” The group follows in unison. When the owner comes out, Kim continues the call and response.\u003c/p>\n\u003cp>He asks the group, “You have a friend that’s just complaining about how their fingertips look,” shouts Kim to the group. “Where do you recommend her to go?” The drummers respond, “Miiyu!”\u003c/p>\n\u003cp>After the exchange, Kim instructs the drummers to give a blast of good luck on their drums before exchanging thanks and moving on.\u003c/p>\n\u003cp>The jishinbalpki tradition stems from South Korean student activists who brought it to the U.S. in the late 1980s. They used \u003ca href=\"https://uspungmul.wordpress.com/what-is-pungmul/\">Korean drumming\u003c/a> and the new year festival as a way to bring attention to their political work.\u003c/p>\n\u003cp>Jang Woo Nam has drummed for more than 25 years. Nam says jishinbalpki gained popularity after the 1992 Los Angeles uprising, also known as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">Rodney King riots\u003c/a>. The \u003ca href=\"http://iamkoream.com/april-issue-k-w-lee-challenges-the-grandchildren-of-the-la-riots/\">Korean-American business community was hit hard\u003c/a> -- it had almost half of the total damaged and destroyed property in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10443969\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg\" alt=\"Drummers visit businesses of all kinds, from nail salons to car mechanics.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443969\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummers visit businesses of all kinds, from nail salons to car mechanics. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jishinbalpkis from '93 became a very community thing where they welcomed all these young Korean drumming folks, reminding Koreans of their Korean-ness and the Korean community,” says Nam. “Because they realized that communities do need to help come together and celebrate its identity.”\u003c/p>\n\u003cp>UCLA freshman Sally Oh says drumming is a way to connect with her heritage. She’s part of three student drumming groups that are organizing the event.\u003c/p>\n\u003cp>“Part of it is being able to express yourself through something you know your ancestors have been playing for centuries,” Oh says. “It feels like even living in America, I have a connection to my family in Korea, a connection with my friends here.”\u003c/p>\n\u003cp>Han Kim says togetherness and community-building are core themes of Korean drumming philosophy.\u003c/p>\n\u003cp>“Just playing one instrument doesn't sound good,” he says. “All the instruments have to come together to play. That creates harmony. It’s all about everyone playing together. So I feel it’s a symbol to world peace.”\u003c/p>\n\u003cp>Back in the street in Koreatown, Kim thanks the students for coming out.\u003c/p>\n\u003cp>“It’s you guys that bring out good fortunes of this year for our loved ones, for our neighbors, for the whole entire world,” says Kim. “Because we are ghostbusters in a sense. We’re here to call in the good spirits, the good energy, good fortune for everyone in our community. And we do it loud and proud, right?”\u003c/p>\n\u003cp>The drummers respond with shouts while banging on their drums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The students wrap up around dusk. They’re tired and sweaty after drumming and dancing all day long. They say they’ll be back next year to usher in the Year of the Fire Monkey.\u003c/p>\n\n",
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"excerpt": "Drummers visit businesses in L.A.'s Koreatown to stomp out bad spirits and summon prosperity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sun Nin Fai Lok! Chúc Mừng Năm Mới! Sae Hae Bok Mani Ba Deu Se Yo!\u003c/p>\n\u003cp>Happy New Year! We are now in lunar year 4713 -- the Year of the Wood Sheep.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/193448761&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/193448761'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Asian-American communities throughout California have annual celebrations to usher in the new year. In \u003ca href=\"http://maps.latimes.com/neighborhoods/neighborhood/koreatown/\">L.A.’s Koreatown\u003c/a>, traditional folk drummers organize a street festival called jishinbalpki, which literally means “to step on the earth’s spirits.” The drumming troupe drops by local businesses to stomp out bad spirits and to usher in prosperity for the new year.\u003c/p>\n\u003cp>You simply can’t miss the drummers as they march down Western Avenue and Olympic Boulevard -- two main thoroughfares in L.A.’s Koreatown.\u003c/p>\n\u003cfigure id=\"attachment_10443968\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg\" alt=\"As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443968\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14407_IMG_2536.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">As they march, the drummers shout, “Ajulshigoo-johta!” – it’s basically a vocal high-five. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they march, the drummers shout, “Ajulshigoo-johta!” -- it’s basically a vocal high-five.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They drum traditional Korean folk beats, going from business to business: restaurants, beauty salons, video rental stores, comic-book shops and even car mechanics.\u003c/p>\n\u003cp>When the troupe arrives at a nail salon, emcee Han Kim starts a call and response in Korean, “Owner, open the door! Open the door so the luck can come in!” The group follows in unison. When the owner comes out, Kim continues the call and response.\u003c/p>\n\u003cp>He asks the group, “You have a friend that’s just complaining about how their fingertips look,” shouts Kim to the group. “Where do you recommend her to go?” The drummers respond, “Miiyu!”\u003c/p>\n\u003cp>After the exchange, Kim instructs the drummers to give a blast of good luck on their drums before exchanging thanks and moving on.\u003c/p>\n\u003cp>The jishinbalpki tradition stems from South Korean student activists who brought it to the U.S. in the late 1980s. They used \u003ca href=\"https://uspungmul.wordpress.com/what-is-pungmul/\">Korean drumming\u003c/a> and the new year festival as a way to bring attention to their political work.\u003c/p>\n\u003cp>Jang Woo Nam has drummed for more than 25 years. Nam says jishinbalpki gained popularity after the 1992 Los Angeles uprising, also known as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">Rodney King riots\u003c/a>. The \u003ca href=\"http://iamkoream.com/april-issue-k-w-lee-challenges-the-grandchildren-of-the-la-riots/\">Korean-American business community was hit hard\u003c/a> -- it had almost half of the total damaged and destroyed property in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10443969\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg\" alt=\"Drummers visit businesses of all kinds, from nail salons to car mechanics.\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10443969\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/02/RS14408_IMG_2560.JPG-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummers visit businesses of all kinds, from nail salons to car mechanics. \u003ccite>(Kyung Jin Lee/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The jishinbalpkis from '93 became a very community thing where they welcomed all these young Korean drumming folks, reminding Koreans of their Korean-ness and the Korean community,” says Nam. “Because they realized that communities do need to help come together and celebrate its identity.”\u003c/p>\n\u003cp>UCLA freshman Sally Oh says drumming is a way to connect with her heritage. She’s part of three student drumming groups that are organizing the event.\u003c/p>\n\u003cp>“Part of it is being able to express yourself through something you know your ancestors have been playing for centuries,” Oh says. “It feels like even living in America, I have a connection to my family in Korea, a connection with my friends here.”\u003c/p>\n\u003cp>Han Kim says togetherness and community-building are core themes of Korean drumming philosophy.\u003c/p>\n\u003cp>“Just playing one instrument doesn't sound good,” he says. “All the instruments have to come together to play. That creates harmony. It’s all about everyone playing together. So I feel it’s a symbol to world peace.”\u003c/p>\n\u003cp>Back in the street in Koreatown, Kim thanks the students for coming out.\u003c/p>\n\u003cp>“It’s you guys that bring out good fortunes of this year for our loved ones, for our neighbors, for the whole entire world,” says Kim. “Because we are ghostbusters in a sense. We’re here to call in the good spirits, the good energy, good fortune for everyone in our community. And we do it loud and proud, right?”\u003c/p>\n\u003cp>The drummers respond with shouts while banging on their drums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The students wrap up around dusk. They’re tired and sweaty after drumming and dancing all day long. They say they’ll be back next year to usher in the Year of the Fire Monkey.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "feedback-mixed-over-guitar-maker-fenders-move-to-online-sales",
"title": "Feedback Mixed Over Guitar Maker Fender’s Move to Online Sales",
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"headTitle": "Feedback Mixed Over Guitar Maker Fender’s Move to Online Sales | KQED",
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"content": "\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/188731208″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During a lunch break on a recent weekday, dentist Mark Harris gleefully hops onto a makeshift stage in his rehearsal space and plugs in his treasured American Deluxe Stratocaster.\u003c/p>\n\u003cp>“With a maple fret board, plugged into a 1961 Fender Tremolux,” explains Harris as he cuts loose with some jagged, wall-shaking riffs ala Neil Young.\u003c/p>\n\u003cp>“It’s a real clean, chimey sound and it’s kind of the working man’s guitar sound,” Harris says of the \u003ca title=\"Fender\" href=\"http://www.fender.com/\">Fender\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/188731208″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/188731208″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Most of his vast collection of instruments, all housed in a converted basement beneath his dental practice about an hour east of L.A., was purchased online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s just the trend in the music business,” says Harris.\u003c/p>\n\u003cp>“Lots of the other shops have just gone by the wayside because everything has gone online now. I’ve bought I’d say 75 percent to 90 percent of this stuff online. Guitars, too.”\u003c/p>\n\u003cp>There was a time when it may have seemed inconceivable to buy certain products online directly from manufacturers, like running shoes or cars — but people do. And they have been for a while. Fender Vice President Richard McDonald says big guitar manufacturers are kind of behind the times.\u003c/p>\n\u003cfigure id=\"attachment_10420092\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10420092 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg\" alt=\"Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/fender-harris-1440x1052.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Riverside dentist Mark Harris plays on some treasured Fender gear in his basement rehearsal space. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And today in the age of modern brands and customers’ expectations, this type of evolution through specialty retail — whether it’s sporting goods or clothing apparel — it’s a pretty natural progression,” says McDonald, speaking from the National Association of Music Manufacturers convention in Anaheim, birthplace of \u003ca title=\"Leo Fender biography\" href=\"http://rockhall.com/inductees/leo-fender/bio/\">Leo Fender\u003c/a>.\u003c/p>\n\u003cp>“In some industries, it’s kind of a 10-years-ago conversation.”\u003c/p>\n\u003cp>A lot of people checking out instruments inside the crowed Fender showroom at last week’s NAMM convention had no idea they could also shop online directly from the company.\u003c/p>\n\u003cp>Dozens of musicians and merchants perused hundreds of candy-colored guitars, while ax-shredding demonstrators in black Fender shirts showed off the latest gear.\u003c/p>\n\u003cp>Greg Braught prefers to try before he buys. As he gingerly placed a vintage-looking sunburst-colored Fender guitar back on the rack I asked the Orange County musician if he’d consider buying that same guitar online.\u003c/p>\n\u003cp>“I would. As long as it had a good return policy just in case. But given Fender’s reputation for the quality of their build, I would,” says Braught.\u003c/p>\n\u003cp>“Having said what I just said, there’s no comparison to actually touching an instrument because it should feel like an extension of your fingers,” he adds.\u003c/p>\n\u003cp>“It should feel like extension of what you’re trying to bring out of your mind and heart.”\u003c/p>\n\u003cfigure id=\"attachment_10420095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10420095\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg\" alt=\"Musicians and merchants check out Fender products at this month’s National Association of Music Manufactures convention in Anaheim. \" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-400x273.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/01/FENDER-CUSTOMERS-1440x984.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians and merchants check out Fender products at this month’s National Association of Music Manufacturers convention in Anaheim. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Chris Cuellar, of \u003ca title=\"Music Mikes\" href=\"https://www.facebook.com/musicmikes%20\">Music Mike’s \u003c/a>instrument store in Riverside, says he’s not too thrilled with Fender’s move.\u003c/p>\n\u003cp>“Internet is good for some things, but not for everything,” says Cuellar.\u003c/p>\n\u003cp>“It takes away that wholesome fun of going through your local music store and visiting a retailer that knows you and helps you pick your first, or third, or your fifth instrument.”\u003c/p>\n\u003cp>Cuellar concedes Fender is making an effort to steer customers to reputable dealers via a scroll-down function on its sales site. That listing includes his shop.\u003c/p>\n\u003cp>“But who’s gonna scroll? Let’s be honest, right, everybody’s so quick to click,” says Cuellar.\u003c/p>\n\u003cp>Fender waited until last year to make its wares available online. The rollout was remarkably muted, given the company’s attention to volume.\u003c/p>\n\u003cp>Fender’s McDonald says the company never intended to make a big splash in e-commerce. The move is more about creating a personal connection with customers, giving them purchasing options — especially for musicians who may not have a guitar shop in their area.\u003c/p>\n\u003cp>That said, McDonald insists Fender is not trying to drive guitar shops out of business.\u003c/p>\n\u003cp>“Experiencing Fender electric guitars and amplifiers in a great local store with a knowledgeable sales person and consultant is the richest environment,” says McDonald.\u003c/p>\n\u003cp>“So if you look at the site, we’re constantly pushing people toward local dealers.”\u003c/p>\n\u003cp>But Cuellar worries that Fender’s move will trigger a domino effect that leads other instrument manufacturers to move in the same direction\u003c/p>\n\u003cp>“Once you take away the stores, you might as well take away the venues,” says Cuellar.\u003c/p>\n\u003cp>“I think if you have venues, you got to have stores, and if you have stores, you got to have venues around the corner somewhere,” says Cuellar.\u003c/p>\n\u003cp>“It just goes hand in hand.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fender declined to say just how its online sales are doing so far. But McDonald did say fewer customers seem to be using the site to actually buy guitars than to locate a Fender dealer in their area.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Jazz Review: The Complete Dial Modern Jazz Sessions",
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"content": "\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/186438043\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=kRkVyaOGsag&w=640&h=350]\u003c/p>\n\u003cp>Russell recorded Bird at his best and at a moment of crisis, when his self-destructive habits caught up to him in the studio, leaving him ragged and forlorn on a version of “Lover Man.” Parker felt betrayed that Russell released the track, but he continued to record for Dial. When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Kcscx7IvAiI&w=640&h=350]\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recording industry continues to reel from falling CD sales as music fans flock to low-cost streaming. But this is hardly the first disruptive technology to shake record companies to the core. In the early 1940s, musicians shut down almost all recording in a struggle for increased royalties, seeking compensation for jukebox and radio play. Much like today, seismic changes in the music business opened doors for new sounds and new business models.\u003c/p>\n\u003cp>In Los Angeles, where the wartime boom fueled an explosion of creativity in black music, nearly a dozen independent labels sprang up to document the profusion of talent after the \u003ca href=\"http://www.afm.org/\">American Federation of Musicians\u003c/a> declared a strike in 1942 seeking 1-cent royalties on every record sold. Suddenly, styles ignored or overlooked by the big three -- \u003ca href=\"http://www.decca.com/\">Decca\u003c/a>, \u003ca href=\"http://columbiarecords.com/home\">Columbia\u003c/a> and \u003ca href=\"http://grammys.rcarecords.com/\">Victor\u003c/a> -- found a home, and no indie created a more enduring legacy than \u003ca href=\"http://www.nytimes.com/2000/03/23/arts/ross-russell-90-recorded-charlie-parker.html\">Ross Russell’s Dial Records.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/186438043&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/186438043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Russell, a writer who owned a small Hollywood music shop, launched Dial to record \u003ca href=\"http://www.cmgww.com/music/parker/home.html\">Charlie Parker\u003c/a>, or Bird, the genius alto saxophonist who forged the virtuosic new vocabulary of bebop with trumpeter Dizzy Gillespie. On their first trip to the West Coast, they played a three-month gig at Billy Berg’s, one of the first integrated clubs in Hollywood. The engagement firmly established the bracing new style on the Southland scene, and Russell quickly set about documenting Diz and Bird. When the rest of the band headed home, Parker stayed in L.A. He’s featured on about a third of the tracks on a new nine-disc set by the mail-order label \u003ca href=\"http://www.mosaicrecords.com/The-Complete-Dial-Modern-Jazz-Sessions-260/productinfo/260-MD-CD/\">Mosaic: \"The Complete Dial Modern Jazz Sessions.\"\u003c/a>\u003c/p>\n\u003cp>These recordings are the stuff of legend, capturing Bird on some his first dates under his own name, initially accompanied by a 20-year-old trumpeter named \u003ca href=\"http://www.milesdavis.com/us/home\">Miles Davis\u003c/a>. Focusing on his original pieces, like “Yardbird Suite,” “Ornithology” and “Moose the Mooche,” Parker plays with dazzling fluency.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kRkVyaOGsag'\n title='//www.youtube.com/embed/kRkVyaOGsag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Russell recorded Bird at his best and at a moment of crisis, when his self-destructive habits caught up to him in the studio, leaving him ragged and forlorn on a version of “Lover Man.” Parker felt betrayed that Russell released the track, but he continued to record for Dial. When Bird moved back to New York in 1947, Russell and the label followed, recording the quintessential bebop combo on a series of blazing sessions featuring Bird’s working band with Miles, \u003ca href=\"http://www.vervemusicgroup.com/maxroach\">Max Roach\u003c/a>, bassist \u003ca href=\"http://www.allmusic.com/artist/tommy-potter-mn0000521303/biography\">Tommy Potter\u003c/a> and pianist \u003ca href=\"http://musicians.allaboutjazz.com/dukejordan\">Duke Jordan.\u003c/a>\u003c/p>\n\u003cp>But Dial continued to document L.A . modernists like trumpeter \u003ca href=\"http://www.allmusic.com/artist/howard-mcghee-mn0000276917\" target=\"_blank\">Howard McGhee,\u003c/a> pianist \u003ca href=\"http://musicians.allaboutjazz.com/errollgarner\">Erroll Garner\u003c/a> and tenor saxophonist \u003ca href=\"http://www.dextergordon.com/\">Dexter Gordon\u003c/a>, who made a point of featuring another rising L.A. star, trombonist \u003ca href=\"http://thegirlsintheband.com/2013/11/melba-liston/\">Melba Liston \u003c/a>(she went on to do brilliant work as an arranger with \u003ca href=\"http://www.dizzygillespie.com/\">Dizzy Gillespie\u003c/a> and \u003ca href=\"http://www.randyweston.info/\">Randy Weston\u003c/a>). A charismatic musician with a huge, muscular sound, Gordon gained a popular following in L.A. through his epic tenor battles with the lithe-toned Wardell Gray at a Central Avenue chicken joint called The-Bird-in-the-Basket. Using both sides of a 78, Russell captured their fierce but friendly jousting on “The Chase,” one of the label’s most popular records.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Kcscx7IvAiI'\n title='//www.youtube.com/embed/Kcscx7IvAiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The pieces by Dexter, Bird and Errol Garner, who sounds irrepressibly joyful on solo and trio sessions, have circulated widely over the years, but the box set also includes some eye-opening discoveries. The 21-year-old trumpeter \u003ca href=\"http://www.allmusic.com/artist/sonny-berman-mn0000043619/biography\">Sonny Berman\u003c/a>, who died just months after his session, sounds magnificent with a band gleaned from \u003ca href=\"http://www.woodyherman.com/\">Woody Herman’s\u003c/a> orchestra. McGhee’s work is equally revelatory, as his work with pianist \u003ca href=\"http://musicians.allaboutjazz.com/dodomarmarosa\">Dodo Marmarosa \u003c/a>(who’s also featured on some sparkling trio tracks of his own) shows why he was considered a worthy rival for Gillespie.\u003c/p>\n\u003cp>Bebop is often portrayed as the movement that sundered jazz from its popular following, transforming it from dance music into art music. But that narrative is far too simple. While innovative L.A. artists like blues guitarist T-Bone Walker, R&B crooner Charles Brown, and Joe Liggins and the Honeydrippers siphoned off much of jazz’s black audience, bebop had plenty of support, too.\u003c/p>\n\u003cp>The box set’s subtext is the devastation wrought by heroin on this generation of musicians. The roll call of achingly young casualties includes Bird, Berman, Gray, Fats Navarro and Serge Challof. Gordon, McGhee and drummer Roy Porter lost decades to addiction and incarceration. The liner notes, which aren’t quite up to Mosaic’s Grammy-winning standards, elide this sad reality, but provide a good overview of the label’s brief but glorious run.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 1948, Russell briefly turned his attention to contemporary European composers like Stravinsky and Schoenberg. Years later he wrote \"Bird Lives!,\" a colorful but often apocryphal account of Charlie Parker’s life. But there’s no denying the musical truth that Russell captured in the studio. This smartly produced box set is designed for collectors who want every note, or anyone who wants a front-row seat at a revolution that continues to reverberate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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